A chilling and boldly original vision of faith, madness, and salvation in a fallen world, a newly devout hospice nurse becomes obsessed with saving her dying patient’s soul — but sinister forces, and her own sinful past, threaten to put an end to her holy calling. A film by Rose Glass, starring Morfydd Clark, Jennifer Ehle, Lily Frazer, Lily Knight, Marcus Hutton, Turlough Convery, and Rosie Sansom.

Maud (Morfydd Clark), a devout Roman Catholic nurse, is assigned to care for Amanda Köhl (Jennifer Ehle) , a former dancer and choreographer from the United States. Amanda, now terminally ill with stage four lymphoma, resides in a British seaside home.

Soon, they become accustomed to each other. One night, Amanda confides in Maud, revealing her fear of the nothingness that awaits after death. Maud comforts Amanda, assuring her that the afterlife is not emptiness but something much more. Maud assures Amanda that God will receive her (or cradle her, gather her in his arms) and prevent her from falling. She adds that God hears her prayers, and Maud herself sometimes feels God’s presence.

Sometimes He talks. Most of the time it’s just like He’s physically in me or around me. It’s how He guides me. Like, when He’s pleased, it’s like a shiver. Sometimes, it’s like a pulsing. And it’s all warm and good.

Maud believes fate has brought her to Amanda, tasked by God’s will to care for her and save her soul before entering the afterlife. Frustrated by Carol’s frequent visits, a companion Amanda pays for sexual pleasure, Maud confronts Carol (Lily Frazer) and pleads with her to stop seeing Amanda, believing it jeopardizes her soul. She further asks Carol keep their conversation a secret from Amanda.

I have a responsibility to look after her. This is life and death. It’s spiritual on another level.

With Carole seemingly out of the picture, things appear to be going well. However, Carole makes a shocking reappearance at Amanda’s birthday party. Amanda’s true intentions are revealed when she humiliates Maud in front of the guests. Amanda exposes Maud’s attempt to drive Carol away, and Maud’s belief in being God’s chosen savior. Most devastatingly, Amanda reveals she has never believed in God, and her compliance with Maud’s religious fervor was merely a cruel amusement. The party guests erupt in laughter, mockingly calling Maud “saint.” Humiliated and enraged by Amanda’s continued mockery, Maud lashes out, striking Amanda.

You must be the loneliest girl I’ve ever seen.

Dismissed from her job and consumed by self-doubt, Maud believes God has rejected her. Her life spirals into desperation and darkness, haunted by flashbacks of a past patient she couldn’t save. In the depths of despair, Maud begs for a divine sign. And God, in a twisted way, answers. A final mission is bestowed upon her, a chance to prove her faith.

Back then I was so lost. But now I am transformed. And soon everyone will see.

Written and directed by English filmmaker Rose Glass in her directorial debut, Saint Maud explores extreme beliefs of God, evil, and mental states. While the core concept isn’t entirely original, the strange yet captivating cinematography effectively draws viewers’ attention with an unsettling atmosphere. It creates a sense of something sinister lurking in the shadows, though we can’t quite identify the threat.

The soundtrack by Adam Janota Bzowski further elevates the film’s impact. Leaving room for interpretation, the film makes us question what’s real and what’s a figment of imagination. Morfydd Clark and Jennifer Ehle deliver stellar performances, solidifying SAINT MAUD as a memorable entry in the psychological horror genre.

SAINT MAUD premiered at Toronto International Film Festival on 8 September 2019. The film was originally scheduled for theatrical releases in the United States on 10 April 2020, and in the United Kingdom on 1 May. However, due to COVID-19 pandemic, the release of the film was postponed. The film was theatrically released in the United Kingdom on 9 October. In the United States, the film received a limited theatrical release on 29 January 2021, by A24.